Improvement in compositions for ornamenting glass



UNITED s'rarns PATENT orrron.

PETER BORN, OF NEW YORK, N. Y.

SOFA-FRAME.

Specification of Letters Patent No. 22,619, dated January 18, 1859.

To all whom it may concern.-

Be it known that I, PETER BORN, of the city, county, and State of NewYork, have invented a certain new and useful Mode of Forming Frames forSofas, Chairs, &c.; and I do hereby declare that the following is afull, clear, and exact description of the same, reference being had tothe annexed drawings, making a part of this specification, in whichFigure 1, represents a plan or top view of the form which I use forforming the frame of a sofa. Fig. 2, is a vertical transverse section ofthe same, the line w, m, Fig. l, indicating the plane of section.

Similar letters of reference indicate corresponding parts in the twofigures.

This invention consists in constructing a form of wood in such a manner,that the complete frame of a sofa may be pressed and formed over it, sothat the same, with the back and legs attached, is of uniform strengthand thickness throughout, showing no visible joint; said form beingconstructed of a number of parts which are united by clamps fitting overdovetailed projections so that the same may be removed when the framehas been finished and that it may be used over and over again forforming a number of frames of the same character.

To enable others skilled in the art to fully understand and use myimprovement, I will proceed to describe it.

A, is a form, the shape of which is such that apiece of wood pressedover the same forms the frame of a sofa. This form consists of fourparts, B, C, D, and E, which are united by a number of clamps F, fittingover dovetailed projections a. In dividing this form, great care must betaken so that the planes of the sections are not parallel, but theyought to converge inwardly so that the several parts may be easilyremoved after the frame has been finished.

In order to form the frame I first glue a piece of paper on the outsideof the form so that the form when finished, may be separated from thesame without injury to either. I then glue thin layers of Wood, such asveneers, on the form, one on the top of another and in such order thatthe joints of a subsequent layer do not coincide with the joints of thepreceding one so that no joint is visible when the required thicknesshas been reached, and when the frame is complete, it is of uniformthickness and strength throughout. The red lines in Fig. 2, indicate themanner in which the layers of wood are placed on the form and after theframe has been finished, the clamps F, are withdrawn and the severalparts of the form are removed, one after the other. It will be noticedthat it will be quite easy to remove the two parts I), and E, but greatcare must be taken in removing the two parts B, and O, and it can bedone by first depressing the part B, and withdrawing the same from theframe carefully. The last part, C, may be easily taken out and theseveral parts are now united again and another frame is commenced overthe same form and in the same way.

The form may be constructed of any thickness whatever provided thesurface of the same corresponds to the required shape of the frame, andit can therefore be made as durable as desired, so that any number offrames may be formed over the same and so that these frames may befinished to a certain extent while they are on the forms, as they areless liable to get injured as long as they are supported by the latter.

It is obvious that the frame of a chair or table or in fact any otherframe of a similar kind may be formed over such forms in the samemanner, but this mode is of particular advantage for sofas, andarm-chairs and other more complicated frames, which are usually made outof a number of parts jointed and fitted together whereby the strength ofthe same is materially impaired. On the other hand my frames have novisible joints and they are of uniform strength and thicknessthroughout.

I am well aware that parts of frames, such as chair backs or the sidesof a bedstead have been formed in a similar manner long ago, by pressingand gluing a number of veneers over a suitable block of wood, thesurface of which is brought to the required shape, therefore I do notclaim, broadly, the manner of pressing wood over a form, but, to thebest of my knowledge and belief, a

V UNITED STATES J. J. H. BRIANCHON,

PATENT OFFICE.

or PARIS, FRANCE.

Specification forming part of Letters Patent No. 22,620, dated January18, 1859.

To all whom it may concern Be it known that I, JULns Josnrn HENRIBRIANOHON, of Paris,in the Empire of France, have invented certainImprovements in Coloring and Ornamenting Glass, Porcelain, Earthenware,and other Ceramic Substances; and I do hereby declare that the followingis a full, clear, and exact description of the same.

My invention has for its object to impart to ceramic substances thecolor of gold, white and colored mother-of-pearl, the variegated andchanging reflections of shells, of all kinds of ,minerals, and of theoptical prism.

It consists in the preparation and use of chemical products whichparticularly apply to English china-ware, porcelain, earthenware,

glass, and crystal ware of all sorts. These products cause these ceramicsubstances, when submitted (according to their nature) to the heat of asuitable furnace or oven, to that of a muffle-furnace, or it may be to aless heat, to possess a splendor and metallic brilliancy comparable tothat of mirrors, and of such solidity that the colors have theappearance of being under enamel. The chemical products, composedprincipally of carburets of hydrogen and of metallic salts, are used tocoat the ceramic substances on glazings or varnish, and serve to formthereon the groundwork and the decorations of all sorts. The process bythe aid of which I obtain these results is divided into two parts,first, the preparation of the fluxes; second, the preparation of thecoloring-matters. These latter, once obtained, are added in variableproportions to the fluxes, and thus produce a great variety of tints.The fluxes which serve to glaze metallic salts and oxides are salts ofbismuth and of lead. The first are preferable, as they undergo hightemperatures much better than the others, and without altering. Theirpreparation to serve for fluxes is the same. I take ten parts (inweight) of nitrate of bismuth, thirty parts of resin, and seventy fiveparts of essence of lavender, or any other essence which does not causeany precipitation in the mixture, with which I proceed as follows:

I put the thirty parts of resin into a capsule resting in a bath ofsand, heated gradually, and in proportion as it melts I pour in the tenparts of nitrate of bismuth, a little at a time, and stir itcontinually, in order to incorporate the two substances. As soon as andaccording as the mixture begins to brown I pour in forty parts of theessence of lavender, and continue to agitate the whole, in order to makethese substances mix well together, and to obtain a solution of them.The capsule is then withdrawn from its sand bath and gradually cooled.It is then that the remaining thirtyfive parts of essence of lavenderare added, and after which the whole is allowed to cool for some hours.The metallic salts and oxides which assist in forming thecoloring-matters are salts of platina, silver, palladium,rhodium,

iridium, antimony, tin, uranium, zinc, cobalt, chrome, copper, iron,nickel, manganese, 860., and sometimes salts of gold also, in order toproduce in the latter case either the rich tints of shells or thereflections ot' the prism.

The coloring-matters are thus obtained:

First coloring-matter, yeZloi0.Thirty parts of common resin aredissolved in a capsule heated by a bath of sand. When the common resinis on the point of melting ten parts of nitrate of uranium are added,and while stirring I add from thirty-five to forty parts of essence oflavender. When the liquid matter has been rendered suitably homogeneousby stirring the capsule is withdrawn from the fire, and from thirty tothirty-five parts of essence of lavender are again added. Thiscoloringmatter, mixed in equal parts with the flux of bismuth, andapplied on the object with a brush, furnishes a preparation which, afterbaking, gives a brilliant yellow tint.

Second coloringmatter, orcmge-red-Jt is made by melting fifteen parts ofcommon resin,

of iron and eighteen parts of essence of 1avender at the same time.These additions are made by a little at a time, taking care to stir it.On the mixture becoming homogeneous it is withdrawn from the fire, andas soon as it is a little cooled twenty parts of essence of lavender areadded. This coloring-matter, mixed with the flux in proportions equal totwo-fifths or one-third or other intermediate proportions of its weight,furnishes a preparation which, after baking, gives a red orange ornankin color, and all the intermediate tints according to theproportions of flux employed.

Third coloriagcnatter, imitation of g0Zd.-It

is made by mixing the two preparations indi= and adding, after fusion,fifteen parts of nitrate I covering it with solution of uranium darkercated above, putting two or three parts of the preparation of uraniumfor one part of preparation of iron. It is by mixing the twopreparations thatametaliic ooloris produced which, after baking,imitates the various tints of polished gold.

Fourth coloringanaltcr, t'm'ieyatedcolors of the prism-Ammoniuret orcyanuret of gold, and of mercury, or ioduret of gold, or gold-dye isadded. These aurit'erous compositions, mixed with essence of turpentine,are pounded on a palette so as to form a paste, which is allowed to dry,in order to be repounded when mixed with essence of lavender. This done,one, two, three, and up to ten, parts of flux prepared with bismuth areadded to one part of the auriferous product. By spreading it with abrush on the molded and baked paste and by or lighter and more or lessvariegated tints are obtained.

All these preparations mix well together. They can also be appliedthe.one above the other, and when so applied with a brush on the objectsthey always furnish, after baking, varied colors and shades.

Mother-of-pearl tints are more easily ob-. tained on crystal and onglass than on chinaware. For this purpose the flux ot' bismuth is mixedwith flux of lead. and sometimes chloride of antimony mixed in resin isadded.

The essence of lavender employed in all the preparations may be replacedby any other essence which does not precipitate substances with'which itmay be mixed. In the same way the common resin may be replaced bycolophony or any other resin.

In the application of the preparations, which is done with a brush, careshould be taken to avoid laying them on in too thin or too thickcoats,which would produce too pale or too dark tints. It is importantthat dust be prevented from accumulating on the coated objects. I

I claim- The yellow coloring, composed of resin, nitrate of uranium,essence of lavender, and the flux of bismuth; also, the orange-redcoloring, composed of resin, nitrate of iron, essence of lavender, andthe flux ot' bismuth; also, the imitatiou-gold eolori ng, composed ofthe abovedescribed orange-red coloring and the yellow coloring, mixedtogether, with additional parts of the preparation of uranium and iron;also, the variegated prismatic coloring, composed of ammoniuret orcyanuret of gold, or golddye, turpentine, essence of lavender, thehismuth flux, and uranium; also, the mother-ofpearl coloring, composedof the bismuth flux, the flux of lead, chloride of antimony, resin,lavender or other essence, and colophony, all of the above coloringsbeing made and applied in the manner and in proportions substantially asherein set forth.

- J. J. H. BRIANOHON.

Witnesses:

A. GUloN, Jr., GEO. HUTTON.

